Abend in den Apenninen, 1828

CommentaryAdrian Ludwig Richter is best known today as graphic artist and illustrator of popular literature (e.g. Karl August Musäus, Volksmärchen der Deutschen, 1824; Shiller’s Lied von der Glocke, 1857). As the son of a drawer and copper engraver more artisanal than artistic, he gained his professional training early on. As the work was well paid, it provided him with a financially comfortable living during his lifetime. Richter's success as a painter was not sufficient; but this part of his work, no more than sixty large format paintings, also earned respect.The painting ‘Evening in the Apennines’, from 1828, was based on landscape studies Richter had made during his stay in Italy 1823-26. The motif can be located exactly: Monti Ruffi and the mountain village of Rocco Sto. Stefano in the Sabine Mountains north-east of Rome. The painting brings together observations of nature first captured as drawings into a composition which follows early 19th century rules for landscape painting: foreground, middle ground and background are clearly distinguished from one another and lead the viewer’s gaze into the depths of the painting; the two female figures serve as staffage and serve to reinforce the artist's intentions.

Adrian Ludwig Richter is best known today as graphic artist and illustrator of popular literature (e.g. Karl August Musäus, Volksmärchen der Deutschen, 1824; Shiller’s Lied von der Glocke, 1857). As the son of a drawer and copper engraver more artisanal than artistic, he gained his professional training early on. As the work was well paid, it provided him with a financially comfortable living during his lifetime. Richter's success as a painter was not sufficient; but this part of his work, no more than sixty large format paintings, also earned respect.The painting ‘Evening in the Apennines’, from 1828, was based on landscape studies Richter had made during his stay in Italy 1823-26. The motif can be located exactly: Monti Ruffi and the mountain village of Rocco Sto. Stefano in the Sabine Mountains north-east of Rome. The painting brings together observations of nature first captured as drawings into a composition which follows early 19th century rules for landscape painting: foreground, middle ground and background are clearly distinguished from one another and lead the viewer’s gaze into the depths of the painting; the two female figures serve as staffage and serve to reinforce the artist's intentions.